Abstract

ABSTRACT
In this article, the author poses the question of what constitutes ‘good sound’ in a theatre production to a range of theatre composers working in German-language theatres today. What criteria do they apply to creating and selecting sound(s)? How conscious are their aesthetic principles? What factors influence their sonic decisions? The article seeks to represent both how individual and diverse the answers to these questions are, even within a very small sample of interviewees, and also what common themes emerge. Finally, the author seeks to reflect on some of the implications for the disciplines of theatre studies, musicology and sound studies that the discourse on ‘sounding good’ has.